Art

"Statue" Photography 24" x 18" inch Edition 1/20 by Ben Cope Not framed. Ships in a tube. Ben Cope is a Georgia native graduating from Columbus State Univ...

"PST" Mixed media painting 36" x 24" inch by Ben Cope 2022 Photo on deconstructed paper with oils and paint pigments Mixed media oil on wood Ben Cope is...

Benjamin Barker of Bath (Pontypool 1776-1838) A wooded river landscape with drovers Signed and dated 'B.Barker pinxt/ 1807' lower right Oil on canvas 46 x 68 3/4 in (116.8 x 174.5 cm...

Portrait of a Young Gentleman, Pieter Van Der Dvssen c.1664 Jan van Haensbergen (1642–1705) This charming portrait is an excellent example of late 17th century child portraiture and is from one of the most prolific periods in art history – the Dutch Golden Age. A vast number of artists produced work to fulfil the demands and tastes of a broad Dutch society, and many cities in the Netherlands developed into distinct artistic centres, characterised by style and specialities of subject. The quality of our portrait is similar to the works of the highly specialised ‘fijnschilders’, who were working in Leiden at the time; these artists executed meticulous small-scale paintings. As with the artist’s other works of children, Haensbergen painstakingly recorded many details including a fine depiction of the face, and the surface effects of the materials and the pearl clasps. The young sitter is Walther Bernt Pieter Van der Dussen. He was born into a wealthy noble Catholic family in Delft in 1654. In this portrait he would be around ten years of age, dating the work to circa 1664, which is also the year before the artist’s marriage to Johanna van Heusden. The Van der Dussen family were great patrons of the arts and commissioned a number of major works from eminent artists in Delft & Amsterdam. Van der Dussen died in 1716. The wooded setting, the lamb, and the “picturesque” or “Roman” dress...

a pair of miniature glass vases with wooden texture, volume X approximate dimensions: Ø 8 x height 10 cm Shaped by fire project explores cultura...

Landscape Finder. Goyo painted this intriguing painting in 1994, when his inspiration from the old masters was most noticeable. The artist declares: “I feel a powerful attraction to ...

"Suffocate" (FRAMED) Photography 24" x 18" inch Edition 1/20 by Ben Cope Comes in frame and plexiglass BLANC series by Ben Cope: Ben Cope is a Los Angeles based portrait artist...

"PST" Mixed media painting 36" x 24" inch by Ben Cope 2022 Photo on deconstructed paper with oils and paint pigments Mixed media oil on wood Ready to hang ...

"Grip" Photography 24" x 18" inch Edition 1/20 by Ben Cope Comes in frame and plexiglass Ben Cope is a Georgia native graduating from Columbus State Univ...

"Removal 93" (FRAMED) Unique mixed media photography 47" x 47" inch by Ben Cope 2013 Photo on deconstructed paper with oils and paint pigments Comes in a white frame Size: 47” X 4...

"Restraint" Photography 24" x 18" inch Edition 1/20 by Ben Cope Not framed. Ships in a tube Ben Cope is a Georgia native graduating from Columbus State Uni...

“Untitled: Movement 1” by Ben Cope 2019 Photo on deconstructed paper on wood panel with oils and paint pigments 24” X 24” inch Ben Cope is a Georgia native ...

This early 19th century etching entitled "Veduta di Piazza Navona sopra le rovine del Circo" was created by Jean Barbault (1718-1762) after a painting by...

This early 19th century etching entitled "Veduta dello scavo del Foro Trajano" was created by Luigi Rossini and included in his publication "Le Antichita Romane" (The Rome of Antiquity), published in Rome in 1823. It depicts the historical victory column of Trajan standing amidst the rubble of broken columns that remain around it. The etching is presented in a black wood frame with a light brown outer mat and a dark brown inner mat. There are several frame abrasions. The print and mats are in very good condition. The frame measures 27" high, 29.07" wide and 0.5" deep. The print is framed and matted in the identical style as the another etching of an ancient Roman landmark, the Piazza Navona, which is also listed on 1stdibs, see item # LU117326144172. The pair would make an attractive display grouping of Roman architecture. A discount is available for purchase of the pair of prints. Luigi Rossini (1790-1857) like his predecessors, Giovanni Piranesi (1720–1778) and Giuseppi Vasi (1710-1782), was an architect and artist. Like Piranesi and Vasi, he wanted to glorify the architecture of ancient Rome, which he felt was deteriorating and needed to be documented. Several of the ruins he illustrated have, in fact, since disappeared leaving only his images as a record of their appearance. His images of the grand edifices of the city dramatically depict the power and glory...

"DRIP 2" (FRAMED) Photography 24" x 18" inch Edition 1/20 by Ben Cope Comes in frame and plexiglass Ben Cope is a Georgia native graduating from Columbus State University with a...

"Tangle" (FRAMED) Photography 18" x 24" inch Edition 1/20 by Ben Cope Comes in white frame and plexiglass Ben Cope is a Georgia native graduating from Columbus State University ...

"Gates of Angel" Acrylic Painting 60" x 72" inch by Ty Joseph From 7 L's series 2017 acrylic on canvas Comes with a black floater frame * * * The meanin...

"Precarious II" Acrylic on canvas Painting (Triptych) 48"x108"in by Ty Joseph From 7 L's series 2017 Comes with a beige wooden floater frame * * * The meaning of L series * * * A...

'Summer Flowers' by Margaret Ryder (British b. 1908) signed oil on canvas, framed frame: 33 x 26 inches canvas: 27 x 20 inches provenance: private collection, UK Exhibited at the Roy...

Interior design paintings. The work was done with ink and watercolor on watercolor paper 300g. The work is 11 by 15 inches in size framed (gold) with a glass on a double mat board in...

My work bridges the divide between sculpture and painting and drawing. Paintings are geometric masses of color in oil paint and wood dowels, on shaped canvas. Often grouped in d...

This early to mid-17th-century oil on panel depicts Maurice of Nassau (1567-1625), Prince of Orange. It’s a bust-length portrait, presented in a feigned oval, after a full length by ...

Artist: (after) Ellsworth Kelly (American, 1923-2015) Title: "Fondation Maeght (Red, Yellow, Blue)" *Issued unsigned Year: 2005 Medium: Original Litho...

Artist: David Diao, Chinese-American (1943-) Title: Barnett Newman: The Paintings (Yellow) Year: 1992 Medium: Silkscreen, signed and numbered in pencil Image: 15 x 39 inches Siz...

Fred Sandback was a minimalist conceptual-based sculptor known for his yarn sculptures, drawings, and prints. He majored in philosophy at Yale Universit...

Circle of Peter Paul Rubens (Siegen 1577 - Antwerp 1640) The Judgement of King Solomon Oil on copper (41 x 49 cm. - with ebonised and gilded wooden frame 58 x 66 cm.) The proposed painting, executed in oil on copper, depicts the biblical episode known as the 'Judgement of King Solomon' and is taken from the Book of Kings, in the Old Testament (I Kings, 3, 16-28). The work is derived from the painting in the Statens Museum for Kunst in Copenhagen depicting the 'Judgement of Solomon', which was largely created by Rubens' workshop with some intervention by the master. The iconography of the painting was certainly made popular by the print made by the Dutch engraver Boetius Adams Bolswert (Bolsward, c. 1585 - Antwerp, 1633) now in the collection of the Metropolitan Museum. The extraordinary critical and illustrative success of the work is certain, of which several replicas and copies exist, preserved in museums and private collections: Delft, Rouen and Coutrai, Liechtenstein in Vaduz and in Seville Cathedral. The prototype for the original Copenhagen painting...

Scipione Compagni, or Compagno (Naples, about 1624 - after 1680) Fantastic landscape with the Crucifixion of Christ on Mount Calvary Oil painting on canvas cm. 47 x 62 with antique frame cm. 63 x 78 cm. We present with great pleasure this rich representation, executed in the second half of the seventeenth century, whose stylistic and composition features reflect the stylistic features of the Neapolitan lesson: the warm colors, the lively chromatic range, the quick but precise brushstrokes are elements that lead us, in particular, to the hand of Scipione Compagno. It fits fully into the classic production of the Neapolitan painter, characterized by compositions filled with numerous figures, assembled with great formal elegance, where the painter re-elaborates the mannerist suggestions but in a theatrical key and consequently reaches an extremely refined Baroque vision of the narrative. The reminiscences with the painting of Filippo Angeli are evident, but above all the similarities with Domenico Gargiulo, known as Micco Spadaro, distinguished by elegant and precious chromatic accords, and with some references to Roman painting of the early seventeenth century. In the work, in fact, references to Roman and Neapolitan classicism are observed, with the bright and bright palette that we can trace back to the painter's mature works. The painting, characterized by a multitude of characters, shows the scene of the Crucifixion on Mount Calvary, where the three crosses stand out against the background illuminated by a clear light, in an almost otherworldly atmosphere of a mountainous river landscape in front of the city of Jerusalem. in the distance. Watching the dying Christ tortured we can see the three Marys, with the Virgin in red dress and blue cloak, surrounded by other women and soldiers, some of them on horseback, one of whom holds a spear with which he inflicted the wound in the side of Christ. In the foreground, again, numerous men, women and children, who attend the scene of the Crucifixion. The bright and clear colorism of the work in question is typical of Neapolitan painting...

DESCRIPTION: Perhaps the best Romney in private hands. If Vogue Magazine existed in the late 18th century, this image of Lady Caroline Price would be ...

Painted in the 19th century, this exquisite miniature portrait wonderfully exemplifies realism in traditional oil painting. The small artwork is painted in the conventional portraiture style of the Old Masters, and achieves soft realism with fine brushwork and a subdued, neutral palette. The half length portrait depicts a fine Victorian woman dressed in all black with a delicate lace collar and bonnet. She wears a ruby broach...

Early 20th Century Study of Rembrandt’s Portrait of Old Woman Russian for Niello Engraving A wonderful study of Rembrandt’s portrait of an Old Woman used for Niello engraving by Ru...

This vigorous drawing has long been attributed to Polidoro da Caravaggio: The Abduction of the Sabine Women is one of the scenes that Polidoro depicted between 1525 and 1527 on the façade of the Milesi Palazzo in Rome. However, the proximity to another drawing inspired by this same façade, kept at the Ecole des Beaux-Arts, and to other drawings inspired by Polidoro kept at the Musée du Louvre, leads us to propose an attribution to Biagio Pupini, a Bolognese artist whose life remains barely known, despite the abundant number of drawings attributed to him. 1. Biagio Pupini, a Bolognese artist in the light of the Roman Renaissance The early life of Biagio Pupini, an important figure of the first half of the Cinquecento in Bologna - Vasari mentions him several times - is still poorly known. Neither his date of birth (probably around 1490-1495) nor his training are known. He is said to have been a pupil of Francesco Francia (1450 - 1517) and his name appears for the first time in 1511 in a contract with the painter Bagnacavallo (c. 1484 - 1542) for the frescoes of a church in Faenza. He then collaborated with Girolamo da Carpi, at San Michele in Bosco and at the villa of Belriguardo. He must have gone to Rome for the first time with Bagnacavallo between 1511 and 1519. There he discovered the art of Raphael, with whom he might have worked, and that of Polidoro da Caravaggio. This first visit, and those that followed, were the occasion for an intense study of ancient and modern art, as illustrated by his abundant graphic production. Polidoro da Caravaggio had a particular influence on the technique adopted by Pupini. Executed on coloured paper, his drawings generally combine pen, brown ink and wash with abundant highlights of white gouache, as in the drawing presented here. 2. The Abduction of the Sabine Women Our drawing is an adaptation of a fresco painted between 1525 and 1527 by Polidoro da Caravaggio on the façade of the Milesi Palace in Rome. These painted façades were very famous from the moment they were painted and inspired many artists during their stay in Rome. These frescoes are now very deteriorated and difficult to see, as the palace is in a rather narrow street. The episode of the abduction of the Sabine women (which appears in the centre of the photo above) is a historical theme that goes back to the origins of Rome and is recounted both by Titus Livius (Ab Urbe condita I,13), by Ovid (Fasti III, 199-228) and by Plutarch (II, Romulus 14-19). After killing his twin brother Romus, Romulus populates the city of Rome by opening it up to refugees and brigands and finds himself with an excess of men. Because of their reputation, none of the inhabitants of the neighbouring cities want to give them their daughters in marriage. The Romans then decide to invite their Sabine neighbours to a great feast during which they slaughter the Sabines and kidnap their daughters. The engraving made by Giovanni Battista Gallestruzzi (1618 - 1677) around 1656-1658 gives us a good understanding of the Polidoro fresco, allowing us to see how Biagio Pupini reworked the scene to extract this dynamic group. With a remarkable economy of means, Biagio Pupini takes over the left-hand side of the fresco and depicts in a very dense space two main groups, each consisting of a Roman and a Sabine, completed by a group of three soldiers in the background (which seems to differ quite significantly from Polidoro's composition). The balance of the drawing is based on a very strongly structured composition. The drawing is organised around a median vertical axis, which runs along both the elbow of the kidnapped Sabine on the left and the foot of her captor, and the two main diagonals, reinforced by four secondary diagonals. This diamond-shaped structure creates an extremely dynamic space, in which centripetal movements (the legs of the Sabine on the right, the arm of the soldier on the back at the top right) and centrifugal movements (the arm of the kidnapper on the left and the legs of the Sabine he is carrying away, the arm of the Sabine on the right) oppose each other, giving the drawing the appearance of a whirlpool around a central point of support situated slightly to the left of the navel of the kidnapper on the right. 3. Polidoro da Caravaggio, and the decorations of Roman palaces Polidoro da Caravaggio was a paradoxical artist who entered Raphael's (1483 - 1520) workshop at a very young age, when he oversaw the Lodges in the Vatican. Most of his Roman work, which was the peak of his career, has disappeared, as he specialised in facade painting, and yet these paintings, which are eminently visible in urban spaces, have influenced generations of artists who copied them abundantly during their visits to Rome. Polidoro Caldara was born in Caravaggio around 1495-1500 (the birthplace of Michelangelo Merisi, known as Caravaggio, who was born there in 1571), some forty kilometres east of Milan. According to Vasari, he arrived as a mason on the Vatican's construction site and joined Raphael's workshop around 1517 (at the age of eighteen according to Vasari). This integration would have allowed Polidoro to work not only on the frescoes of the Lodges, but also on some of the frescoes of the Chambers, as well as on the flat of Cardinal Bibiena in the Vatican. After Raphael's death in 1520, Polidoro worked first with Perin del Vaga before joining forces with Maturino of Florence (1490 - 1528), whom he had also known in Raphael's workshop. Together they specialised in the painting of palace façades. They were to produce some forty façades decorated with grisaille paintings imitating antique bas-reliefs. The Sack of Rome in 1527, during which his friend Maturino was killed, led Polidoro to flee first to Naples (where he had already stayed in 1523), then to Messina. It was while he was preparing his return to the peninsula that he was murdered by one of his assistants, Tonno Calabrese, in 1543. In his Vite, Vasari celebrated Polidoro as the greatest façade decorator of his time, noting that "there is no flat, palace, garden or villa in Rome that does not contain a work by Polidoro". Polidoro's facade decorations, most of which have disappeared as they were displayed in the open air, constitute the most important lost chapter of Roman art of the Cinquecento. The few surviving drawings of the painter can, however, give an idea of the original appearance of his murals and show that he was an artist of remarkable and highly original genius. 4. The façade of the Milesi Palace Giovanni Antonio Milesi, who commissioned this palace, located not far from the Tiber, north of Piazza Navona, was a native of the Bergamo area, like Polidoro, with whom he maintained close friendly ties. Executed in the last years before the Sack of Rome, around 1526-1527, the decoration of Palazzo Milesi is considered Polidoro's greatest decorative success. An engraving by Ernesto Maccari made at the end of the nineteenth century allows us to understand the general balance of this façade, which was still well preserved at the time. The frescoes were not entirely monochrome, but alternated elements in chiaroscuro simulating marble bas-reliefs and those in ochre simulating bronze and gold vases...

Antique color print depicting the dance of cupids with carved wooden frame. The extraordinarily refined and highly decorative painting depicts an 18th-century allegory. Centrally and...

Figure with Cherubim in Wilderness Italian School, 17th century oil painting on wood panel framed 13 x 11 inches condition: overall for its age very good, though the work is most likely a preparatory...

Thomas Buttersworth (1768-1842) Shipping in choppy coastal waters signed and dated lower left Oil on canvas Canvas Size - 9 x 12 1/2 in Framed Size - 13 x 16 1/2 Immerse yourself in...

Italian painter (19th century) - Memento Mori. 43 x 67 cm without frame, 48.5 x 72.5 cm with frame. Antique oil painting on wood, in a wooden frame. Condition report: Original can...

Circle of Thomas Hudson (1701-1779) British. 18th Century Bust Portrait of a Lady, Oil on Canvas, Inscribed on a label verso, canvas: 30" x 25" (76.2 x 63.5cm). frame: 30 x 25 in...

TITLE: Babel ARTIST: Giuliano Cataldo Giancotti YEAR: 2024 MEDIUM TYPE: Sculpture MEDIUM/MATERIALS: Iron DIMENSIONS: 13 x 13 x h 87 cm This sculpture is part of an artistic researc...

TITLE: Babel ARTIST: Giuliano Cataldo Giancotti YEAR: 2024 MEDIUM TYPE: Sculpture MEDIUM/MATERIALS: Iron DIMENSIONS: 13 x 13 x h 87 cm This sculpture is part of an artistic researc...

TITLE: Babel ARTIST: Giuliano Cataldo Giancotti YEAR: 2024 MEDIUM TYPE: Sculpture MEDIUM/MATERIALS: Iron DIMENSIONS: 13 x 13 x h 87 cm This sculpture is part of an artistic researc...

TITLE: Babel ARTIST: Giuliano Cataldo Giancotti YEAR: 2024 MEDIUM TYPE: Sculpture MEDIUM/MATERIALS: Iron DIMENSIONS: 13 x 13 x h 87 cm This sculpture is part of an artistic researc...

TITLE: Babel ARTIST: Giuliano Cataldo Giancotti YEAR: 2024 MEDIUM TYPE: Sculpture MEDIUM/MATERIALS: Iron DIMENSIONS: 13 x 13 x h 87 cm This sculpture is part of an artistic researc...

TITLE: Babel ARTIST: Giuliano Cataldo Giancotti YEAR: 2024 MEDIUM TYPE: Sculpture MEDIUM/MATERIALS: Iron DIMENSIONS: 13 x 13 x h 87 cm This sculpture is part of an artistic researc...

TITLE: Babel ARTIST: Giuliano Cataldo Giancotti YEAR: 2024 MEDIUM TYPE: Sculpture MEDIUM/MATERIALS: Iron DIMENSIONS: 13 x 13 x h 87 cm This sculpture is part of an artistic researc...

Large painting titled Edge on Center; signed verso and dated 2002 8 feet x 5 feet (approx.) Peter Lodato was born in 1946 in Los Angeles, California, has exhibited extensively and ...

A good antique Dutch/Flemish oil on panel painting, after Cornelis van Poelenburgh, circa 1850. The painting portrays a number of nude and partially robed nymphs dancing in a bucolic...

Giovanni Stanchi (Rome 1608 - 1675) or Niccolò Stanchi (Rome 1623 - 1690), workshop of GARLAND OF FLOWERS WITH PORTRAIT OF THE VIRGIN Rome, First half of the Seventeenth century o...

It is an ORIGINAL painting not a print or reproduction or mass produced art! I personally pack my artworks. All necessary arrangements are made to make sure your paintings arrive saf...

It is an ORIGINAL painting not a print or reproduction or mass produced art! I personally pack my artworks. All necessary arrangements are made to make sure your paintings arrive saf...

18th century English school portrait of a lady, said to be Mrs. John Ruscombe of Colne, Lancaster, as the muse Erato This very skilfully painted portrait depicts a lady as the muse ...

A forest in winter with the trees blanketed in snow creates a thrillingly fresh but very still and calm emotion. The painting is executed in Clear Impressionism style in thick oil...

Franz Weirotter (1730-1771), Suite of 12 Views of Italy, etchings, 1759 [most signed in the plate by Weirotter]. Reference: Nagel 5. 10 printed in pairs on one sheet; one on a small...

A charming portrait of a young girl presented in the original, hand carved giltwood frame. Circle of John Opie (1761-1807) Portrait of a young girl, half length With old label to t...

Modern acrylic painting by artist William Finlayson, custom framed in white oak floater can be hung vertical or horizontal Born in Tallahasee Fl, William started his artistic caree...

A fine framed oil on canvas painting by the renowned artist William Sidney coope.Signed and dated 91 lower left. This painting depicts 3 cows resting by a river, a village with hous...

New Forest,Hampshire, 19th century,landscape oil, by Frederick Golden Short A fine small framed landscape oil painting on canvas of the new forest in hampshire with ponies by Frede...

A lovely tranquil scene of LES LAVEUSES. Depicting houses by a stream/river with a woman washing her laundry.Framed Oil on canvas Signed and dated '74'(lower right) The size being...

The Battle of the Novogorodians with the Suzdalians 16th century Size 50.5 x 47.5 x 3 cm. The icon is located in the Russian Federation. There is an expert opinion from leading R...

Italian painter (early 18th century) - Four Evangelists. 25.5 x 19 cm without frame, 29 x 22.5 cm with frame. Ancient oil painting on panel. in wooden frames. Condition report: In...